


Many of the side characters' stories and development in Trials of Apollo mirror and support Apollo’s own development

by Keyseeker



Series: ToA analysis [6]
Category: Percy Jackson and the Olympians & Related Fandoms - All Media Types, The Trials of Apollo - Rick Riordan
Genre: Character Study, Gen, Meta, Written Between The Tyrant's Tomb and Tower of Nero, not fanfiction
Language: English
Status: Completed
Published: 2020-06-22
Updated: 2020-06-22
Packaged: 2021-03-04 02:40:30
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 3,125
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/24866200
Author URL: https://archiveofourown.org/users/Keyseeker/pseuds/Keyseeker
Summary: One of the things I love about ToA is how many of the other characters’ stories, their situations, their development, mirrors and compliments Apollo’s own development, reinforcing the story of how Apollo changes from being a selfish, arrogant, shallow, apathetic person, to one of the most selfless, humble, aware, and empathetic people in the Riordanverse.
Series: ToA analysis [6]
Series URL: https://archiveofourown.org/series/1799089
Comments: 3
Kudos: 41





	Many of the side characters' stories and development in Trials of Apollo mirror and support Apollo’s own development

**Author's Note:**

  * Inspired by [Many of the side character's stories and development in Trials of Apollo mirror and support Apollo's own development](https://archiveofourown.org/external_works/636688) by Flightfoot. 



One of the things I love about ToA is how many of the other characters’ stories, their situations, their development, mirrors and compliments Apollo’s own development, reinforcing the story of how Apollo changes from being a selfish, arrogant, shallow, apathetic person, to one of the most selfless, humble, aware, and empathetic people in the Riordanverse.

## Meg Mccaffrey

Obviously Meg’s story is the one that mirrors Apollo’s the most. I’ve already talked about this in past analyses however, and it’s so blatantly obvious I don’t want to waste time making a point that I’m sure all my readers already know. Maybe I’ll make another analysis focusing on Meg later, but I’ll skip over her for now.

## Calypso

Fairly superficial similarities here. Calypso is also a former immortal who’s learning to deal with the loss of her powers (though not TOTAL loss) and being thrown into the demigod world headfirst. The emotional core of their experiences is different though, since Calypso’s whole thing was that she was trapped on an island (albeit a nice one) under house arrest for thousands of years. Apollo wasn’t really trapped like that. Even saying he was METAPHORICALLY trapped is a bit of a stretch, Zeus doesn’t seem to have been to involved in the day-to-day business of what Apollo got up to.

## Lityerses

This one IS fairly similar actually. Lityerses is controlled and manipulated by his father, and it sounds like he’s okay with that - like he’s as bloodthirsty as his father is.

 _“Right.” He regarded Calypso. “I think I’ll keep you alive long enough to kill you in front of Valdez’s face. That’ll be fun. But this former god here…” Lit shrugged. “I’ll just have to tell the emperor that he resisted arrest.”_ (TDP 152)

But there are hints that maybe there’s more going on there. His muttering of “I hate that” when Midas casually mentions accidentally turning Lit to gold in The Lost Hero, him being glad that Apollo gave his father donkey ears, his casual mistreatment by Commodus - all of it gives the clues that maybe there’s a REASON for his attitude, for his behavior.

What it does NOT do, however, is hint that Lit could be a better person. None of any of the heroes’ encounters with Lit actually suggests that. That’s a leap of faith that Apollo makes, hoping that MAYBE, just maybe, Lit will be a better person if someone gives him a chance. If someone shows him kindness, helps him when they have no good reason too. He identifies with Lit. The hidden depths that Apollo’s shown as a mortal… they wouldn’t be apparent to a casual observer of him as a god. Heck, APOLLO didn’t know they were there! He’s constantly surprised at himself, at the kind of person he is now, at the sort of things he’ll do. Apollo gives Lit the chance he wants people to give himself, the sort of chance that he didn’t even really realize he needed. Showing him - showing Apollo - showing Lit - that level of kindness, mercy, and concern, when there’s no ulterior motive, showing it just because this is another person, and they haven’t really done anything to ‘earn’ compassion beyond that simple fact - that threw both of them for a loop.

In Apollo’s case, he really started appreciating others compassion in THO, when his children took him in, treated him as family, cared for him, said they’d protect him against anyone who gave him trouble.

_“If anyone gives you trouble, Kayla will shoot them. Then I’ll curse them so bad they’ll be speaking rhyming couplets for weeks.”  
_

_My eyes watered. Not so long ago - like this morning, for instance - the idea of these young demigods being able to help me would have been ridiculous. Now their kindness moved me more than a hundred sacrificial bulls. I couldn’t recall the last time someone had cared about me enough to curse my enemies with rhyming couplets._

_“Thank you.” I managed. I could not add “my children”. These demigods were my protectors and my family, but for the present I could not think of myself as their father. A father should do more - a father should give more to his children than he takes. I have to admit this was a novel idea for me. It made me feel even worse than before. (115)_

It makes a difference here that his kids are helping him when he couldn’t offer anything back. If he’d still been a god, he wouldn’t have given their help much thought. He would’ve just thought that he was entitled to it, and that it’s not like he’d REALLY need them anyway. But this? This is different. They’re helping him just because they care - it’s not anything transactional. Apollo isn’t used to thinking about relationships this way - not for the most part anyway. His relationships with Artemis and Leto are solid, and he seems to have genuinely cared for Hyacinthus, genuinely loved him as a person, and cared for Asclepius quite a bit, but aside from that? Not so much. Certainly not caring about someone who’s practically a stranger.

This set an example for Apollo, one that he carries forwards to Lit. Lit also has never been shown this sort of kindness before, kindness when he’s at his most vulnerable, compassion without an expectation of a return, and most especially, compassion when he’s given Apollo and the Waystation residents every reason to reject him. And that compassion is enough to cause him to break down, to rethink his whole stance on life. Seemingly overnight, he changes from being the brutal, cruel killer who would murder Calypso in front of Leo just to hurt him that much more, to being a lost person just looking for something or someone to live for, to fight for. And having found it, he suddenly softens, becoming kinder, more balanced. 

But it’s not really an overnight change, is it? This other side has always existed, it’s just been hidden under layers of bravado and cruelty. That’s why both Lit and Apollo are able to change their mindsets so quickly - not all the aspects of what they’ve learned is truly “new”, they just haven’t applied them like this before, or not for a long time. Apollo’s experienced these sorts of caring relationships with Leto and Artemis at least, so they’re not totally a foreign concept. I’m betting in Lit’s case that he and his sister, at least at one point in time, did truly care about each other. The difference is seeing it applied more broadly to themselves by people who don’t already know them well, and then applying it to others that same way in turn.

## Piper

Piper’s whole identity crisis has similarities to Apollo’s own. She was thrown into a situation where people expected certain things of her, and she just kinda… conformed to them. Which isn’t to say that she might not have chosen them herself on her own, but she didn’t really get that choice. Now that she has the time and has had a chance to think, she’s trying to find herself, figure out who she is. Her dad being financially ruined throws a wrench into it, but both of them returning to their roots, her father seemingly having more time to spend with her - those aspects are familiar. Apollo’s now figuring out who he is, now that he doesn’t have “being a god” to define him, along with everything else associated with that. His having his godhood stolen, and only now spending time really getting to know his kids and his demigod half-siblings, along with many, many others, is like how Piper’s dad now has time to spend with her, time he didn’t have before - a silver lining in this whole mess. 

Apollo’s advice to Piper seems to be talking about himself nearly as much as it’s talking about Piper.

 _“It’s been my observation,” I said, “that you humans are more than the sum of your history. You can choose how much of your ancestry to embrace. You can overcome the expectations of your family and your society. What you cannot do, and should never do, is try to be someone other than yourself - Piper McLean.”_ (265)

With how Apollo’s grown throughout the series and ESPECIALLY in TTT, this fits him as well. Apollo is more than the sum of his history, of what he has done, of what has been established by the older gods. He can choose how much of his past - and his family - to embrace, and overcome the expectations of his family, both godly and mortal, and of godly society. And he will do it by being himself, his WHOLE self, including the parts of his being that he’s been nurturing as a mortal, the compassionate, empathetic parts of himself.

## Jason

Jason is a little different, because I don’t think his development, his situation parallels Apollo’s CURRENT situation, so much as Apollo’s future development. His willingness to sacrifice himself, to be the one who dies so that his friends can survive, wanting to keep secret about the prophecy so that Piper doesn’t try to stop him, so that hopefully he can keep her safe, even if it means merrily walking to his own death…. I’m expecting Apollo to get into a similar situation in TON. Though there are elements of that he’s already lived through, since he ALREADY chose Meg’s life over his own in TDP, and in TTT, he tried to conceal and downplay just how badly he was hurt to try to stop Meg from worrying as much.

## Frank

Frank carries his mortality - the stick that’s attached to his life force - around with him. He’s decided that in order to lead the Legion effectively, he has to put one hundred percent of himself on the line. He can’t let fear hold him back. 

Apollo’s mortality is also on the line all the time. Originally he wanted to hide away, to cower behind others so as not to die (not that he actually tended to go THROUGH with it, either because he couldn’t or he wasn’t willing to abandon them) but now? Now he doesn’t even try. He wants to live, that’s true. But he values his companion’s lives more. He won’t hesitate to put himself on the line, to commit himself completely if he believes that it gives them a greater chance of survival.

The greater parallel however comes later, with Apollo’s hypothesis for how Frank survived his stick burning up. He believes that maybe since Frank took charge of his own destiny by willingly sacrificing himself, that he was freed from his old destiny and forged a new one:

 _“It’s just a guess,” I admitted. “Frank went into that tunnel knowing he might die. He willingly sacrificed himself for a noble cause. In doing so, he broke free of his fate. By burning his own tinder, he kind of… I don’t know, started a new fire with it. He’s in charge of his own destiny now. Well, as much as any of us are. The only other explanation I can think of is that Juno somehow released him from the Fates’ decree.”_ (393)

I don’t know how plausible this explanation is. Honestly, it kinda sounds like BS to me, especially since Jason did the same thing and HE died. But what’s important here is what APOLLO thinks happened. His explanation says as much about him as it does about what he thinks happened with Frank.

Breaking free of your fate by accepting, by EMBRACING your own mortality, putting everything on the line, sacrificing yourself completely in order to have a shot of stopping your friends from being hurt or killed… it’s similar to what happened with Jason, but with the added twist that Frank survived and started a new story, free of his previous destiny.

The destiny thing is really important. As a god, Apollo’s not ‘supposed’ to be able to change or mature. The gods seem to believe that their nature is more set in stone than mortals are. But Apollo has disproven that. He’s changed a lot, and has continued to change. He’s forging his own destiny, one different than he ever imagined it could be. And maybe, just maybe, one that Zeus won’t have control over. One that’s truly his own.

## Don the Faun

Don has only a small role, but what Apollo says about him - what he thinks about him - says a lot.

_“Hey, Apollo, you- you know the difference between a faun and a satyr…?”  
_

_[…]_

_A moment later, his body collapsed with a noise like a relieved sigh, crumbling into fresh loam. In the spot where his heart had been, a tiny sapling emerged from the soil. I immediately recognized the shape of those miniature leaves. Not a hemlock. A laurel - the tree I had created from poor Daphne, and whose leaves I had decided to make into wreaths. The laurel, the tree of victory._

_One of the dryads glanced at me. “Did you do that…?”_

_I shook my head. I swallowed the bitter taste from my mouth._

_“The only difference between a satyr and a faun,” I said, “is what we see in them. And what they see in themselves. Plant this tree somewhere special.: I looked up at the dryads. “Tend it and make it grow healthy and tall. This was Don the faun, a hero.”_ (398-399)

Here, Apollo’s noting that the difference between satyrs and fauns are purely societal. That there’s no inherent difference between them. Like the difference between gods and mortals, mentally, isn’t that different. Gods may be more powerful, but they’re still people, like mortals are. The differences between them, psychologically, have more to do with how society sees them, and how they see themselves. Having had his godhood stripped away, this is very apparent to Apollo. Because he’s still himself. A better version of himself, in fact, but that has nothing to do with him being mortal - not in and of itself. But with the things he’s learned as a mortal. He can be a hero, truly. Because he is just as capable of such things as any mortal.

## Reyna

And lastly, there’s Reyna. She too, like Frank and Don previously, broke free from expectations to forge her own path. 

_“My whole life, I’ve been living with other people’s expectations of what I’m supposed to be. Be this. Be that. You know?”  
_

_[…]_

_“But you showed me. When you proposed dating…” She took a deep breath, her body shaking with silent giggles. “Oh, gods. I saw how ridiculous I’d been. How ridiculous the whole situation was. That’s what healed my heart - being able to laugh at myself again, at my stupid ideas about destiny. That allowed me to break free - just like Frank broke free of his firewood. I don’t need another person to heal my heart. I don’t need a partner… at least, not until and unless I’m ready on my own terms. I don’t need to be force-shipped with anyone or wear anybody else’s label. For the first time in a long time, I feel like a weight has been lifted from my shoulders. So thank you.”_ (405-406)

Reyna thought that she was supposed to find a partner. Everyone else thought she needed a partner - needed romantic healing. Until Lester asked her out. Until she saw how ridiculous it was to let others expectations - or curses, or whatever you’d call Venus’s little prophecy - control her life.

Apollo has a similar thing going on with letting expectations about what he’s supposed to do, about who he’s supposed to be, control what he does - or did, at least. I’ve gone over that already, so I’ll skip past that.

But the romantic angle? About thinking - or having others think - that she needs to be healed romantically? That also falls in line with Apollo’s development. Apollo’s had a LOT of romantic relationships, and a decent number of them have ended in disaster. He seems to be convincing himself that some romance will “fix” things, like with how he convinced himself that getting together with the Cumaean Sibyl would fix things:

 _But that wasn’t enough for me. I was smitten. I convinced myself it was love - the one true romance that would wash away all my past missteps. I wanted the Sibyl to be my partner throughout eternity. As the afternoon went on, I coaxed and pleaded._ (131)

But he wasn’t in love with her, not truly, or his love wouldn’t have turned to hate so fast when she refused him. He just really WANTED it to be a shining romance, one that would finally fix things.

He actually does seem to be finding this sort of fulfillment now, but not with romantic relationships - with more platonic, familial relationships instead, such as with Meg.

 _I’d always wondered what it would be like to have a younger sibling. Sometimes I’d treated Artemis as my baby sister, since I’d been born a few minutes earlier, but that had been mostly to annoy her. With Meg, I felt as if it was actually true. I had someone who depended on me, who needed me around no matter how much we irritated each other. I thought about Hazel and Frank and the washing away of curses. I supposed that kind of love could come from many different types of relationships._ (192)

I don’t think he’s realized it yet, but in a way, Meg seems to be “washing away” his curse of loneliness, of feeling empty. Taking care of her, connecting with her, bantering with her - this is what he needed. To be a protector. To be a friend. Romance is fine, but they’re not the only fulfilling sorts of relationships. 

Honestly with Reyna and Piper both taking a break from romance in order to find themselves, I think that Apollo may lay off the romance for a bit after ToA’s over, work on his more platonic relationships instead. I don’t think he’d swear it off, but maybe look for something more steady than he was before. And with the experiences he’s had as a mortal, I think he could better recognize truly serious love versus a temporary infatuation.

## Final Thoughts

I really love how focused this series is on developing Apollo! A lot of aspects of this series seem geared to do that, from who the antagonists are and how they act, to the storylines of the side characters. It allows a level of development for Apollo that’s deeper and more nuanced than with any of Rick’s previous protagonists, even Percy. I look forward to seeing how Rick will conclude his development. If his writing for Apollo in TON is as solid as for previous entries, I’m sure it will be worth the wait.


End file.
